In what critics describe as another blow to artistic freedom in Turkey, celebrated pop singer Mabel Matiz appeared before prosecutors Monday to defend himself against obscenity charges over song lyrics that authorities claim violate public morality. The case highlights the increasingly restrictive cultural climate in a country where creative expression faces mounting government scrutiny.
The 39-year-old artist, whose real name is Fatih Karaca, was summoned to Istanbul's Çağlayan Courthouse after the Interior Ministry filed a criminal complaint about his song "Perperişan" (Disheveled). According to Turkish news outlet T24, the Istanbul Chief Public Prosecutor's Office is investigating whether the song's metaphorical lyrics constitute obscenity. This charge reflects Turkey's tightening grip on artistic and cultural expression.
The controversy represents more than just a dispute over song lyrics. In recent years, Turkey has witnessed an escalating pattern of censorship affecting musicians, writers, and artists who challenge conservative social norms. The government's swift action to ban Matiz's song from YouTube, Spotify, and Apple Music—platforms crucial for artistic reach in the digital age—demonstrates how quickly authorities can silence voices deemed inappropriate.
Matiz, known for his progressive stance and LGBTQ+ advocacy in a country where such positions often invite official hostility, firmly rejected the accusations during his testimony. "There was no special purpose in writing this song. My music aims to unite people and evoke positive emotions, not to provoke," he stated, according to prosecutors' records. The singer explained that controversial phrases like "Cici toy bebe" (sweet inexperienced baby) were metaphorical expressions common in Turkish folk traditions, describing an inexperienced person in a love story.
The absurdity of the situation becomes apparent in Matiz's defensive testimony, where he felt compelled to explain basic poetic devices to prosecutors. "The phrase about 'sending the bird home' simply means sending news home," he clarified, illustrating how authorities have weaponized literal interpretations of artistic metaphors to prosecute artists.
What makes this case particularly troubling is Matiz's revelation that he performed the song only once on September 8 before self-censoring due to potential misunderstandings. His testimony reveals an artist already walking on eggshells, even admitting to regularly modifying traditional folk songs to avoid controversy. "I change 'Those who love young ones' to 'Those who love beautiful ones' in my concerts," he explained, demonstrating the suffocating self-censorship artists must practice in contemporary Turkey.
The singer's statement that he is "compassionate about these issues" and his expression of regret—despite maintaining his innocence—reflects the chilling effect of state pressure on artistic expression. "If I had received even the slightest negative comment before release, I would have removed this song," Matiz testified, revealing how fear of state retribution forces artists into preemptive self-censorship.
International observers note that this case fits a disturbing pattern in President Erdoğan's Turkey, where the space for cultural expression continues to shrink. The government's invocation of "public order and general health" to ban a pop song would be laughable if it weren't so concerning for Turkey's remaining artists and free thinkers.
As Matiz concluded his testimony with "I do not accept the accusations against me," his case stands as a testament to the ongoing struggle for creative freedom in a nation where even metaphorical songwriting can lead to criminal prosecution.